New World Rhythmatism instructional resource. Easy to understand instruction, primarily for hand-drummers, on how to read rhythm notation in T.U.B.S. and S.W.A.T. format. Many "world-rhythms" have been transcribed with these systems and are available online and in print.
Basic Frame Drum in Standing Position
+ Tones for Cha and Grab
Basic Frame Drum in Seated Position
Get FREE loopable downloads of some NWR core rhythms to practice and play along with here
An improvised "weave" of the Middle-Eastern rhythm often referred to as Malfuf. Malfuf is a two beat rhythm that contains an archetypal structure found in music around the world. The accents are divided into microbeat packets of 3-2-3 or 3-3-2. In SWAT notation this is D..T.T.. or D..T..T.
"Weave" is a term used in New World Rhythmatism to describe a series of techniques used to embellish or ornament a rhythm while still maintaining the core structure. The sustained effort to maintain the core identity of the rhythm helps to distinguish it from a solo or taksim.
This weave is developed in three movements. The first movement introduces the core structure and some thematic phrasing, as well as exploring the spaces between the notes. The second two movements elaborate on the theme by introducing new textures that create distinct branches of the core idea.
Tabla composition on frame drum
Translation of a "kaida" to frame drum. The theme comes from Aloke Dutta. I've substituted some of the vistars and made adjustments for frame drum. The piece is still a bit rough, but I thought that it was an interesting reflection of my practice at the end of 2009.
Basic Tin Tal (16 beats) on framedrum (5221k). This rhythmic cycle from South Asian rhythmic tradition, provides an excellent framework to grow rhythmic awareness and technical abilities. Tin Tal is fundamental to South Asian classical music. The cycle is long by Western, Middle-Eastern, and African standards. Tin Tal teaches an entirely different kind of musical exploration. The cycle is spoken (left to right, top to bottom):
Da
Din
Din
Da
Da
Din
Din
Da
Da
Tin
Tin
Na
Na
Din
Din
Da
The bold Da is one, or "sum." Counting from left to right and then down, beats 9-12 represent "kali," roughly "empty." These beats are set apart by a closed sound "cha" on the frame drum, or "tin, tin, na, na." This closed part of the cycle is part of its distinctive character. Over time, you will begin to hear this space as an integral part of the rhythm.
Close-Up Snapping demonstration (4931k)
Te Te Kaida (7691k): Introduction to a kaida (a particular kind of structured improve) in Tin Tal, utilizing a double snap- "Te Te."
Da te
te Da
te te
ta ka
Da te
te Da
te te
ta ka
Ta te
te Ta
te te
ta ka
Da te
te Da
te te
ta ka
This is great practice for your snaps. It also begins to give you the feel of the long cycle. If you have a playmate, trade off holding Tin Tal while each of you work through this kaida. If that's too easy, play the kaida twice at two to the beat (double-time).
Te Te Kaida, Basic Vistars (7865k): Here is the same Kaida, but now introducing basic variations by moving around the location of "te te."
Some excellent online lessons with David Kuckhermann.
Dun, Da, Goon, ge, etc. This is the low, open tone. Note that the the thumb strikes by wrist rotation, about one third of the way into the head, and then bounces off of the surface.
Dun, Da, Goon, ge, etc. alternate method. This is another low open tone and is often played in combination with the thumb strike. For example, the phrases "Dun Dun," or, "da ge" will call for both techniques in succession. The hand rotates downward striking the drum with the tip of either three fingers together, or the second finger alone. The finger(s) naturally bounce off the drum immediately after the strike.
Ka, Na, Tek, Din, etc. This is an open rim tone. The hand is relaxed, resting on the top of the frame and keeping the drum in position. This note can be played with the second or middle finger. The finger strikes the edge of the drum on, or within centimeters of, the rim (depending on tonal preference), and then bounces off of the surface.
Ka, na, Tek, Din, etc. Right Hand. This is the same note as the left handed version but is played in a different hand position. The hand briefly rotates up and then down until the second finger strikes the rim and bounces off of the drum head. Don't forget the rotation.
Cha, Kat, Grab. This is a closed unvoiced note. It is produced by rapidly rotating a slightly curved hand onto the drum head, and momentarily holding it in place to deaden all vibration.
Pa, Te, Ka, Na, Snap. Note the location of the hand, relative to the drum head and shell. Also keep in mind that there is minimal friction between the thumb-tip and fingers. The snaps are directed to the same location as the "na" (from the very edge to within two centimeters of the edge). The snap does not bounce off of the drum head. With the double snap, the thumb moves rapidly from the preceding finger to the next finger in line. In actual practice, the fingers fall naturally onto the thumb as the previous finger strikes the drum.
The following additional lessons from some masterful players will not only help you to refine your technique, but will introduce some of the diversity in approach to this wonderfully versatile instrument:
